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The recent world refugee crisis has mobilized societies all around the globe and has led to the multiplication of initiatives calling for support to refugees. Given the fact that one-third of the displaced population were children, measures for their immediate integration into schools were taken in most European countries. Although in Greece children with refugee experience first attended schools in 2017, teachers were not adequately prepared to cope with students who had lacked schooling for many years and with whom they couldn’t easily communicate due to language barriers. New teaching methodologies were needed for pre- and in-service teachers to bridge the gap between existing knowledge and the needs of refugee students. In this context, the authors designed a project called “Literacy through Drama” in the reception class of a public school in Volos, Greece involving 12 pre-service teachers. The findings of the study highlight that drama-based informal learning may provide opportunities for pre-service teachers to develop valuable knowledge about learners in authentic settings and pedagogy in practice. Faculties of education could facilitate effective community partnerships with organizations that work with refugee families and children and the school system and propose holistic curricula which include refugee student experiences. Moreover, pre-service teachers could gain skills and knowledge in supporting refugee students, identify refugee students’ needs, communicate in creative ways, and overcome deficit beliefs about refugee students.

The paper draws extensively from Aristotle’s Poetics, a classical work on the aesthetics of drama. Drawing from symbolic and thematic elements from folklore and mythology, this paper aims to illustrate how the Poetics can be referenced as an allegorical device in the design of culture-building strategies and interventions.

This exploratory paper examines Aristotle’s “Poetics” and the range of creative expression this literature provides as a conceptual design framework for the development of a culture map in creating a distinctive organisational mythology. The Poetics articulates an Aristotelian perspective on theatre which infuses itself as a new language in offering structural and archetypical plot devices in the development of an organisational narrative.

Findings from this explorative study can provide a creative roadmap to culture practitioners and leaders, to be used as a determining reference point in developing culture maps and change management interventions.

Poetics has its detractors, notably Bertolt Brecht and Augusto Boal. Boal examines how Poetics promotes a narrative that suppresses free thinking and encourages a cult of feudal personality, therefore encouraging industrial and cultural oppression, which he rebelled against through the development of his “Theatre of the Oppressed”. This new kind of theatre discarded the Aristotelian model of thinking. Ideas proposed in the Poetics may also lend verisimilitude to the propagation of obsessive consumerism through the definitive symbolism it offers in the development of institutionalised personality cults.

The Poetics as a creatively driven reflexive study provides a forward movement in the study of culture design templates. Its definitive allegorical devices and metaphors act as action principles through which an enterprise culture and its value system can be examined and developed.

The television series The Americans succeeds as a family drama, crime drama, and political drama. Criminal law offers a useful perspective for interpreting the series. By examining the post-finale criminal liability of two key characters, daughter Paige Jennings and FBI agent Stan Beeman, this chapter provides some novel insights into the characters, their motivations, and the events in the last season of the series. The legal analysis also uncovers some ironies. Most notably, Paige’s legal vulnerability will put her in a moral dilemma because her best way of avoiding a lengthy prison term is to provide evidence against Stan, punishing him for letting her and her parents go.

The narrative of The Americans weaves together a spy thriller and a family drama, though it drives home the inseparability of the political and the personal through the lives of the central characters, Philip and Elizabeth, a couple whose marriage is a cover for their work as Soviet spies. This chapter provides a queer reading of their marriage, drawing from the real history of the Cold War politics of sexuality that associated American values with the hetero- and gender normative, white, and middle-class nuclear family. In contrast, the Soviet Union was understood to have disrupted this natural order by installing the state as an overbearing patriarch. Philip and Elizabeth’s fictional cover as a nuclear family requires them to perform American marriage, family, and selfhood. In doing so, they reflect the centrality of the family in America’s Cold War self-image in which the family serves as the anchor of the American order, enabling economic and political self-sufficiency. Their performance of the family challenges our ability to differentiate between real, authentic family that can serve as the legitimate source of social reproduction and between the counterfeit, fake family that disrupts the social order. The queer family, refusing to be placed beyond realm of the political by the moral language of family values, subverts our ability to distinguish between genres since the family drama is already a political thriller.

The purpose of this study was to explore the differences in motivation for sport consumption within a diverse sample of college students with underrepresented identities.

Data were collected from 2,833 students at universities in a mid-major Division I FBS athletic conference through a survey. Two MANOVAs were conducted to examine group differences. While the first MANOVA compared a dominant group (White and non-LGBTQ+) to an underrepresented group (non-white race and/or LGBTQ+), the second MANOVA explored differences in five specific marginalized groups (Asian, Black or African American, Hispanic or Latino, LGBTQ+, intersectional marginalized identities).

The results indicated that the dominant group scored significantly higher than the combined underrepresented group in four of the eight sport consumption motives examined. However, the comparison of individual underrepresented groups showed significant differences for all eight consumption motives between at least two underrepresented groups.

This study is the first attempt to compare group differences in motivation for sport consumption between specific racially marginalized groups, LGBTQ + community members, and intersectional racial and LGBTQ + identities within college athletics.

This study aims to test the utility of Pearce et al.'s (2003) framework on film tourism in Otaru, Japan. This framework involves marketing the attraction according to five stages: resource identification, marketing emphasis, interpretation, sales and merchandising and broader community use. The existing studies have failed to adapt this framework to films. Subsequently, this study uncovers the necessity of an additional stage involving sustainability aspects.

A case study method was adopted, and Otaru, Japan – a popular film location – was chosen. Semi-structured interviews with the major stakeholders of film tourism, such as film commissions, representatives of the film and the tourism industries, tourists and the community, were conducted, and the participants were observed. Data were collected using the snowball sampling technique.

The study reveals that Pearce et al.'s (2003) model is applicable to film tourism by adding a sixth stage to address sustainability, such as the issue of overtourism.

The transferability of the framework to different film tourism cases is plausible. It is also critical for governments and tourism practitioners to consider the community's perspective for sustainability and maximize the use of films as promotional tools for destinations.

This study is the first to apply Pearce et al.'s (2003) model to film tourism, adding value to the literature by extending the framework to include an additional sixth stage to address sustainability.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

Eating disorders (EDs) remain a major health concern, and their incidence has further increased since the COVID-19 pandemic. Given the equally increasing demands on treatments and service provision and the high levels of relapse post-treatment, it is important that research explore novel and innovative interventions that can further support recovery for individuals with EDs. There is growing evidence that arts interventions are beneficial for recovery from EDs. This study aims to evaluate the feasibility of conducting a stand-up comedy course to support ED recovery.

The study used a qualitative interview study design to evaluate the recovery benefits of participating in stand-up comedy workshops for a pilot group of people in recovery from EDs (n = 10).

The comedy intervention was well-attended and had high acceptability and feasibility. For most individuals, participating in the course had a positive impact, including promoting personal recovery (PR) outcomes across all five elements of the CHIME framework. Unique assets of the course included providing participants with an opportunity to distance themselves from everyday worries of living with an ED; the opportunity to cognitively reframe situations by making them the object of humour; and providing a safe space to (re-)build a positive sense of self.

This is the first study, to the best of the authors’ knowledge, that evaluates stand-up comedy workshops for ED recovery and further demonstrates the potential of arts interventions and the relevance of PR frameworks in this field.